Facsimile edition of Stephanie Oursler’s 1975 artist’s book. Oursler self-published 5 CUTS in 1975 with a small number of copies, on the occasion of her exhibition of the same name which took place in Rome, Bari, Milan and Como. She combines stills from unidentified silent films with autobiographical texts, and in doing so creates an open narration of her life, which is both an intimate recollection and a literary construction. A poetic depth unfolds in Oursler’s language, which—in connection with the sometimes concrete, sometimes surreal and enigmatic images—approaches the essence of memory.

The exhibition Disproof Does Not Equal Disbelief by the Berlin-based artist Michael Stevenson (born in 1964, NZ) presents an unconventional invocation of his practice over the past 35 years. Since the 1980s Stevenson has developed an artistic language that operates at the juncture of economy, technology, education, and faith, exploring the infrastructural systems that condition these disciplines and their entanglement. The exhibition marks Stevenson’s first institutional solo presentation in Berlin and presents a focused revision of his work, in which early paintings are brought into dialogue with more recent expansive installation.

Designed by Will Holder.

Produced on the occasion of Massimo Spada’s exhibition Pavistil, in a former Pavistil shop, Conegliano (I), October–November 2021.

You can find more information on the exhibition here.

Massimo Spada’s photography becomes testimony to, and an opportunity to reflect on, an extraordinarily significant work of architecture: the ‘houses’ of the new town of Longarone, designed by architect Valeriano Pastor immediately after the Vajont Dam disaster. It is a historical experience using photography, a record of reality that conciliates the relationship between individual sensibility and the world, then becoming a recollection, and once again a memory. In this open format document there is a perpetual present, a changing vision, open to continuous reinterpretation and, perhaps, new considerations.

pool 4 is the title both of a performance and a book produced for MoMA, in which the artist Nora Turato collects language from a range of sources. These “pools” of texts, pulled from the Internet, media headlines, advertisements, conversations, books, commercial products, and her own thoughts, are assembled and arranged, with no logic or narrative structure, into a growing script that Turato memorizes and performs. The publication presented in the space serves simultaneously as prop, set, exhibition, archive, and artist’s book. Designed by Sabo Day.

Promotional card for John Armleder’s edition 346, produced by John Gibson Gallery, 1987.

Co-founder of the Ecart Group (1969) and closely affiliated with the Fluxus movement, visual artist John Armleder has since the end of the 1960’s created a polymorphic body of work which encompasses performance, drawings, sculptures and paintings.

*Please note this publication is secondhand and has some traces of previous ownership.